The editorial categories are research topics that have guided researchers during the recovery phase and continue to be the impetus behind the Documents Project’s digital archive and the Critical Documents book series. Developed by the project’s Editorial Board, each of the teams analyzed this framework and adapted it to their local contexts in developing their research objectives and work plans during the Recovery Phase. Learn more on the Editorial Framework page.
Amaya’s criticism brings up the specific situation of Colombia by considering opinions on its cultural prospects, which range from highly optimistic to views that are more skeptical. Amaya focuses the problem on the general view of arts activities. He points out that, while other parts of the world treat art with special consideration, in Colombia, art is seen as work done by people who are useless. In other words, the artist is considered to be a marginal figure who contributes little to the society. Amaya deems this situation unfortunate, and he believes it is essential to bring about a change. Comparing Colombian art with religion, he considers art to be the consoling light that comes to us from the infinite.
Víctor Amaya González, a Colombian poet, writer and essayist born in 1898, emphasizes the negative opinion people have of artwork made in Colombia. With this text, a feeling shared by other intellectuals of his time becomes evident: every time they think about the creative process, they compare its fate in Colombia with its treatment abroad. This attitude the writer classifies as simian. He is also very critical of the interest in trying out “whatever is foreign,” and in his opinion, there is very little reflection aimed at discovering their own values. The intersection between what comes from abroad and the vernacular was a fairly significant discussion during the late 1920s, and the press was aware of the importance attributed to that debate. In addition, Amaya expresses concern about the widely-held contemptuous attitude toward the work of the artist. At the time, the general belief in Colombia was that people who worked as artists were useless and would end up being a burden to the society. In the essayist’s opinion, the great imperative of the time was to develop a capacity for self-reflection and to recognize the significance of art and the artist in society.